Call Me by Your Name
Far and away, the best movie of the year.
Chaz Ebert reports on "The Beguiled," "Good Time," "In the Fade" and more in her fifth video dispatch from Cannes 2017.
A report on the latest from Naomi Kawase and the last from Abbas Kiarostami.
A preview of the 2017 Cannes Film Festival.
Jacques Audiard's "Dheepan" took the Palme d'Or at the 68th Cannes Film Festival.
Ben Kenigsberg hazards a few guesses as to what the Coen brothers' jury might pick.
A report from Cannes 2015 on "The Measure of a Man," "Cemetery of Splendor" and "Marguerite & Julien."
Sheila writes: The glamorous days of air travel were already on their way out by the time I first stepped foot on an airplane (Aer Lingus, 1980) so I have always been fascinated by glimpses of what traveling by plane used to be like: the linens, the cocktail glasses, the curtains, the elegance! I came across a piece about a man, Anthony Toth, who had such a sense of nostalgia for those bygone days that he built a partial replica of a Pan Am 747 in a warehouse in Redondo Beach, where he lives. At first, the replica was in his garage, but then he realized he needed to build an upper level, so he moved the entire thing to a warehouse, where it still sits today. The local press picked up on the story, and it created such interest that you can now visit and have dinner, Pan Am style.
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
Marie writes: As TIFF 2012 enters its last week and the Grand Poobah nurses his shoulder in Chicago (having returned home early for that reason) the Newsletter presents the final installment of Festival trailers. There was a lot to chose from, so many in fact there was no room for theatrical releases; they'll return next week. Meanwhile, enjoy!
Finally Cannes delivers some real laughs! This morning I saw "Le Havre" by Finnish director Aki Kaurismki, screening in competition. After several days of grim and serious films about people who lead grim and twisted lives, I wanted to cry for joy at this funny and good-hearted film. I would normally be wary of a film that anyone describes as heart-warming but this is the real deal.
Kaurismaki ("Lights in the Dusk," "The Man Without a Past" "Drifting Clouds," "The Match Factory Girl") is a master of deadpan comedy. His central characters are often glum, non-verbal types and naive innocents duped by tricksters or beaten down by a world they don't understand. The humor in his films is rooted in the deepest irony. "Le Havre" blithely portrays life as we might wish it to be, and that is the funniest irony of all.
The shoeshine man Marcel Marx is seen plying his trade at the Le Havre train station in the opening scenes of "Le Havre." He makes very little money, and the routine of his daily walk home establishes the fact that he has an overdue tab running everywhere he stops--the bakery, the grocery store, and the corner bistro. He can be a bit of a charmer with the ladies, but his long-suffering wife Arletty (Kati Outinen, a longtime Kaurismaki regular) describes him as "a big child" when she cautions her doctor not to reveal that she is about to die.